The Space Bar are hiring!

The Space Bar are seeking an ambitious Sous chef to join our new and expanding team to lead the relaunch of food service in our characterful local bar/pub

Job Description
Preparing and cooking food
Maintaining clean and safe kitchen area
Contributing to plans for expansion of food service.

Personal Specification
We are seeking an individual with good time management and good communication skills, able to work well under pressure and a passion for food

We are seeking to offer flexible hours over the week as we restart food service and are looking to expand to a 7 day service with an expanded team, with pay and hours to increase based on growth of demand and expansion of service with performance related bonuses.

Starting Rate – £11ph
Starting Hours – Flexible

For all applications, please submit a CV and cover letter or a 2 minute video application to Matthew@space.org.uk

 

Last week, we sat down with Clare O’Flaherty the writer of upcoming HOP!

HOP! is a murder mystery like no other… read more below!


Hi Clare, thank you for taking the time to chat to us today. We’re less than two weeks out from showtime! How is it all coming together?
My absolute pleasure. The show is really coming together now, we’ve had a lovely couple of days in The Space this week so it’s been lush to get a sense of the venue and really start getting the piece on its feet. We previewed a shorter version of Hop! a month or so back at the Golden Goose theatre; since then it’s had a good old re-draft so it’s been exciting to see our fab actors re-familiarise with the script but also get stuck into the new bits.
As a murder mystery, we can’t give too many spoilers about the plot… What can you tell us?
Yes, there has been a murder of sorts however our c haracters are going to do everything in their power to distract you from this fact. Can you stay focused despite their decoys…the challenge is on!’Tell us about your writing process, how did HOP! find it’s way onto the page?
I wrote Hop! during the first lockdown, and it began as me just staying connected to writing and theatre. Like most writers, I have countless pads full of ideas and I decided to see what would happen if I picked some at random and try to fit them into one world. It was a challenge trying to bring these quite singular elements into one place but I felt like I needed to test myself at a time where we all felt a bit lost – but alas, we have Hop!I pretty much only write comedy & am always looking for way to work with my director in crime, Coral (who also has comedic bones); we both want to make sure audiences have fun, escape & take a breather from reality in our pieces – fingers crossed we’ve achieved that with Hop!

We’re always glad for a Northern connection, can you tell us about the play’s setting of Stockport?
I’m a Manchester girl and lived not far from Stockport before I moved to London. Most of my plays are tied to the north and Stockport seemed like the perfect place to base this story & the characters. We give a nod to The Hat Museum, Fred Perry & David Dickinson – all Stockport originals.

Tell us about some of the characters we’ll meet in HOP! Who is at the heart of our mystery?
It’s a three-hander, we have: Gina, daughter of Renee who finds herself covered in blood with a lot of explaining to do;
Gina’s mate Michelle, whose dippy mentality isn’t helpful in a time of crisis;
and finally Renee, Gina’s mother. Renee is a local celebrity after starring in the Boots Christmas advert in 1992. Renee dominates
our story, she distracts us from everything and echos this idea that we often ignore what’s right in front of us.
In previous conversations, we’ve talked about a spectacular finish that may involve some gore, how has the process of bringing this to life been?
It really is PG on the gore scale, even Disney wouldn’t bat an eyelid. But it’s been fun to play with the insinuation of something sinister and staging it has been a brain teaser & a blast in equal measure.
Finally, sell us HOP! in 3 words.
Fun, intriguing & nostalgic!

HOP!
Playing 10th – 14th August 7:30pm
Livestreaming 13th August 7:30pm

The following letter was written in response to our online play, Life in Boxes, created as part of Queen Mary University Conversations.

Maria Grazia Turri

Letter to a Mental Health Patient from a Psychiatrist turned humble

Dear Mental Health Patient

I am writing to you after seeing Life in Boxes, a play by Isabel Dixon, streamed live by The Space, a theatre I will surely visit in a post-pandemic world. While boxed in our homes to protect ourselves and each other from a deadly virus, we’ve had more time to reflect on what we’d like the world to be, once we’ll be free to roam it again. For my part, I’d like to see fewer lives in boxes and more stories told and listened to.

In Life in Boxes, a dead mother leaves as her legacy to her two daughters a secret identity hidden away in storage boxes. It made me think of the boxes you, my dear mental health patient, would leave me, should you be allowed to drop them at the door of my office. When we met, I asked you about mood, sleep, appetite and concentration, unusual beliefs and hallucinations, so that I could tick the boxes on my diagnostic checklist. You didn’t complain when I talked at you and not with you. How patient you were! You went along with it, obligingly, and let me be the expert about you.

Let me admit that, honestly speaking, I know nothing about you. I only know a lot, an awful lot in fact, about this ‘thing’ which I call your mental disorder. And the reason why I know a lot about it, is because I invented it. Well, not me exactly, some of my buddies who take the time to compile a big manual called the DSM (Diagnostic and Statistical Manual of Mental Disorders). The DMS is sometimes called the bible of psychiatry , and the name fits it perfectly, as we psychiatrists are its devoted clergy: in the DSM, and only in the DSM, we trust.

The DSM is a comprehensive catalogue of all the mental disorders to be found on planet Earth (and perhaps beyond, who knows). It gives every human suffering the great opportunity to be filed away in neat storage boxes: each diagnosis is a box, with a label on the outside and a menu of symptoms listed underneath. For each patient who comes to our office, we check their symptoms against each menu and we file them away in their matching box. So I filed you. And I apologise if, as I got to know you a bit more, and I noticed that your symptoms weren’t quite what they seemed at start, I had to take you out of one box and put you into another. In certain cases, I have to admit, a patient may have to be split and put into two or three boxes at the same time, but to no great inconvenience to them, we hope.

Well, all this boxing, that I carried out for so many years, even decades, has left me somewhat drained. Perhaps I realise it too late, but as they say, better late than never. Especially as I’ve come to know that there are other ways to talk to patients like you. I recently discovered the Power Threat Meaning Framework, a new tool for assessing mental health patients published by the British Psychological Society in January 2018. When we see each other again, I will be sure to use it, but should I forget, please help me remember.

You might have heard that this framework was highly disliked by some of my more illustrious colleagues. Some consider it a heresy. Others, perhaps tongue in cheek, have claimed that psychiatrists take the Power Threat Meaning Framework to Mean a Threat to their Power. For my part, I got going reading its 400 pages and I became aware of a great body of scientific knowledge that was mysteriously kept hidden from my sight thus far. There is an interesting parallel here, between you having to hide the truth of your story, and the hiding of the science that validates your story. But I will remember from now on, that your story and the way you tell it, is the only ‘Road to Damascus’ that can take us to the truth behind your suffering and show us the way to healing.

The DSM claims that we don’t know why you and so many other people are mentally ill, but if they had to put a bet on it, it would be molecules in your brain gone astray and gene mutations. Even now, with so much suffering going on behind the closed doors of isolation and anxiety for the pandemic, predictions are made of how many more brains and genes will fail to step up to the challenge. But I’ve had just enough of being the priest of the DSM. The Power Threat Meaning Framework document demonstrates that oppression, marginalisation, poverty, discrimination, racism (aka Power), trauma or the threat of it, be it physical, sexual or psychological (aka Threat) are the causes of mental disorders. I must say, it did not come as a surprise. Having worked in psychiatry for so many years, I never met a mental health patient who didn’t have something of the sort happen to them in the recent or distant past. But the DSM distracted me, it made me focus so much on symptoms, and labels for boxing patients in, that I forgot there was a story behind each.

Yet, aren’t you going to be worried that the Power Threat Meaning Framework may only be another trick to box you into new labels and categories? I promise it will not, as the things I’ll ask you when you come to see me again, will be: What has happened to you? How did it affect you? What sense did you make of it? What did you have to do to survive? What are your strengths? What is your story? It will always be about you and what you make of what happened to you (aka Meaning): you’ll be the expert in your own story. I will be there to walk by your side and help you through your journey of recognition and recovery. And I will have things to say, perhaps even expert things, but I will always check with you that my suggestions, my advice, my prescriptions even, make sense to you and that you are interested in trying them out.

In Life in Boxes, two daughters are gifted with an opportunity to question themselves through the discovery of their mother’s secret boxes. Thinking of your secret boxes, I questioned myself as a medical doctor and I rushed to look up the definition of medicine in the Cambridge English dictionary. This is what I found. In definition number one, medicine is the treatment and the study of illness and injury. In definition number two, medicine is a substance (liquid or pill) that is used as a treatment for illness or injury. I wonder when, as a doctor of medicine, I became a doctor of pills instead of a doctor of treatment in a more generous sense of the word. Listening can be treatment, understanding can be treatment, comforting can be treatment, educating, advising, guiding, supporting, assisting, succouring.

When did medicine in psychiatry come to mean dispensing pills? When did treatment in psychiatry reduce itself to pills, liquids and injections? I don’t know, I’ve lost track, but I guess it has got something to do with the DSM. For each patient there is a DSM label, and for each DSM label there are matching boxes of medicines. Let’s say that the psychiatry I have practised so far is like a bleak warehouse: in come people to be put in label boxes and out come people holding a number of boxes of pills to be swallowed, digested and boxed within their bodies for the rest of their lives. And all under the pretension that what causes mental illness is some molecule that goes astray within the braincase. Another box, the skull, holds the brain, the focal point of interest for research into mental illness. We do like boxes in psychiatry!

And yet, if the mental refers to the mind, there is so much more to the mind than the brain. Studying the brain to understand the mind, is like studying a leaf to understand a plant. There is no leaf that can function in isolation from the rest of the plant, and no plant that can function in isolation from its ecosystem. So far I was scared. Scared of being shamed for not understanding that mental health pertains to medicine and biology. It took me so long to appreciate that being against the DSM and against the equation between brain and mind does not mean I’m against the bio-medical model of mental health. It is only just to be against a mistaken definition of what biology and medicine mean. Biology is always ecology, as there is no isolated life, only life within an ecosystem. And medicine means studying and treating illness, not dispensing pills. I’m not against biology, nor medicine, only against a dull restriction of what they stand for.

Thanks to the Power Threat Meaning Framework, I will put my study and treatment of your suffering in the context of your ecology, your mental health in the context that makes it possible: family, friends, work, housing, finance, social class, past history, current joys and concerns, dreams and dreads for the future. Who cares for you? Who do you care for? What do you care about? What concerns you? What gives you joy? What do you need help with?

But there is more to it. If it is true that… No, wait a moment, no ifs or buts. Because it is true that oppression, marginalisation, poverty, discrimination, racism, trauma and the threat of it, be it physical, sexual or psychological, are the causes of mental disorders, then the cure for mental illness is first and foremost prevention of those social ills. If we are serious about fighting for better mental health, and if mental health is a human right, then we must prevent oppression, marginalisation, poverty, discrimination, racism, trauma and threat. Take the metaphor of a council that leaves its roads wrecked and cracked, and the people breaking their legs in the hundreds, taken to hospital, put in a plaster. Would you agree that if the council invested in repairing the roads, there would be much fewer broken legs, much less needs for hospitals and plasters, and many more happy citizens overall?

As you can see, Life in Boxes has given me lots of things to think about, and one more. It’s made me ponder how actors and playwrights and artists know the human mind more than anyone else. To invent characters you need to know them from the inside, know their stories, what happened to them, what sense they made of it. Those questions which I will ask you, using the Power Threat Meaning Framework instead of the DSM, may be questions an actor employs to learn her role, or a playwright to write her script. I believe this is the attitude we call empathy, and we need so much more of it in psychiatry and beyond. And you know what? Although I am sure that a trip to the theatre, or a book, or a visit to a gallery may do you good, I will not give you arts on prescription. You’re as clever as I am, and you’re probably writing, or painting, or making music already, despite never telling me, because you thought I didn’t care. In fact, what I’m going to do, is to give myself some arts on prescription. Send psychiatrists to the theatre, to learn a thing or two about the mind, their patients, and how to be human again. Send us to the theatre to be unboxed.

With my very best wishes, your psychiatrist turned humble.

This exciting online 5-week course for 8-12 year olds explored all elements of the theatre making process. From writing and directing your own play to designing your set, costume and lighting, this course was the perfect opportunity to flex all of your creative muscles!

You can download the course materials from each week by clicking on the link below:-

Week 1: Playwriting

Week 2: Design

Week 3 – Technical Theatre

Week 4: Directing

Week 5: Final challenge

Young Space Makers was part of Locked Down, Looking Up, an online programme funded by Arts Council England.

Led by Ella Murdoch and supported by Jennie Eggleton.

We jumped into our theatrical Tardis and looked back at some key periods of theatre history. From greek tragedy to contemporary theatre with stop-offs including Shakespeare, Stanislavski, Brecht and the Theatre of the Absurd.Aimed at adults with an interest in theatre. Catch up with slideshows from past sessions that are uploaded next to their session date. 
 
Week 1 – 13th July – Its all Greek to Me
Week 2 – 20th July – Back to the Bard
Week 4 – 3rd August – Theatre of the Absurd
Week 5 – 10th August – Under-Represented Theatre
 
Theatre Through the Ages was part of Locked Down, Looking Up, an online programme funded by Arts Council England.

Led by Adam Hemming and supported by Caroline Jeyaratnam-Joyner. Course created by Adam Hemming and Lauren Watson.

Working with young people aged 14-18, the aim of this 5 week course running from 17 June – 15 July was to create original and personal work focusing on how you feel right now and what you may have noticed during this time about your local community. Students came away from the course having written and performed their own material, whilst also learning key performance skills including movement and voice work. On My Street was part of Locked Down, Looking Up, an online programme funded by Arts Council England.

Led by Jennie Eggleton and supported by Ella Murdoch.

The supporting Material is available here

Session 1

Session 2

Session 3

Session 4

Session 5

Five virtual get togethers where the attendees experimented and expanded on different aspects of improvisation and clowning. For anyone interested in investigating creativity with or without previous experience. We invite you to free your imagination and participate in our laboratory of play, improvisation and experiments. Stimulate the imagination, build confidence and performance skills, react and inhabit the moment and leave the day to day, habits and worries, behind. To follow along with what happened in the workshop you can watch here.

The Improvisation and Clowning Laboratory was part of Locked Down, Looking Up, an online programme funded by Arts Council England.

Led by Jane McGrath and supported by Gavin Dent.

Supporting Videos

The Theatre and Activism course was part of Locked Down, Looking Up funded by Arts Council England. This five week course which ran from 1st – 29th June embedded itself in the current and political world that we live in. Each participant and/or small group(s), had the chance to explore an issue that they feel passionate about, through a range of theatre techniques. These included (but not exhaustive): debate, protest, installation, ensemble, new writing, monologues, duologues, spoken word, character work, improvisation and script work.  

The programme was facilitated with a person-centred approach with Caroline and Adam at the helm. The group of people that attended were lovely to work with and had brilliant ideas. The course materials are available here for those wishing to refresh their memories and new Theatre activists alike.

Theatre and Activism Session 1

Theatre and Activism Session 2

Theatre and Activism Session 3

Theatre and Activism Session 4

Theatre and Activism Session 5

Let us know how you get on with the materials and any projects that you work on as a result on our Facebook or Twtitter.

The Space is thrilled to announce a new programme of events and play readings to support new writers and an online festival of duologues.  

2.0 Fest will see 8 playwrights commissioned to create new duologues to be performed online. The duologues will be streamed live on 31st July and 1st August and recorded for future distribution throughout lockdown.  

Locked Down, Looking Up will see 10 playwrights receive an online reading of their new plays, 6 directors develop and deliver 30 online workshops and 3 theatre companies perform online versions of shows that were due to perform at the Space.  

The final strand of the programme is the newly created Space Theatre Club, like a book club but participants watch theatre online and then meet to discuss.  

The Space will be hosting a special launch event on the evening of Thursday 21st May via zoom. Featuring details of the full programme, extracts of plays and interviews with many of the playwrights, directors and performers involved.  

Since going into lockdown, the Space has been supporting theatre-makers and engaging audiences with online play readings and workshops. This emergency grant from the Arts Council has enabled them to expand their programme. 

The commissioned 2.0 Fest playwrights are: Grace Chapman, Arthur Cole, Annie Fox, Francis Grin, Laura Horton, Gemma Lawrence, Kate Reid and Luke Stapleton. 

The ScriptSpace playwrights and plays are: Natalie Baker (The Grinding Stone), Abigail Chandler (Adults), Katie Duncan (Refuge), Sam Essame (The Door), Emma Griffiths (Newbie), Katharine Jee (Book Club), Lekha Desai Morrison (Misfits), C.J. Scuffins (The Golden Dawn), Dan Shaw (Loose Lips) and Matt Wixey (A Huddle of Penguins). 

Artistic Director, Adam Hemming says:We’re delighted to receive this backing from the Arts Council. Our aim has been to promote positive mental health through engaging creatively with theatre online. The feedback we’ve had so far has been that what we’re doing is valued and important, so we’re excited to have the opportunity to deliver even more.  

There is some amazing theatre available to watch online, but we missed being able to chat about them in the bar afterwards. The wonderful thing about the Theatre Club is that it brings together all of our stakeholders – audience members, participants and theatre-makers. We invite special guests from the productions to join us and have had the pleasure of talking to established names like Patsy Ferran, Nina Raine and Lizzie Clachan. 

Playwright Annie Fox said: The Space has been exceptionally nimble in its response to the lockdown, supporting its artists and community in many ways. Like many writers, I had projects cancelled or postponed during this time, so am delighted to try my hand at a new type of play.   

Playwright Laura Horton said: “Like many people, just as I was about to hold readings for my first two full-length plays, they were cancelled. I truly thought a commission for an un-established writer would be out of the question for a long while, so to get my first during Lockdown has given me incredible energy and hope.”  

Playwright Luke Stapleton said: To be asked to write a new piece for 2.0 Fest is a real privilege, especially during such a hugely difficult time. The Space is a wonderful theatre which continues to source, nurture and commission new writers.” 

The Space will launch Locked Down, Looking Up on the evening of Thursday 21st May at a special event on the zoom app. To book a place click here.

Associate Company The UnDisposables joins us next week for their production of ‘Julius Caesar’. Here, director Kate Bauer gives us some insight for this upcoming performance.

Between the Romans, Shakespearian London and modern times the permanence of political instability becomes apparent. Is that more reassuring or worrying?

Of course there’s so much at play culturally and financially that dictates how our governments have been formed over the years and now. I think this question really depends on how you view the world and in what light as we’re so controlled by individualism in our Western society that we seek leaders and strength in power from one person and rely on the singular person to affect change. This instability can come from a lack of leader, a shared sense of leadership, and a lack of a capable leader who has the best interests of the people in mind. Unfortunately I don’t think this is something we can escape when corruption and thirst for power is always going to play a part when we see ‘getting ahead’ as pushing others down. I think showing humans to be incredibly flawed is the most interesting part of this whole process in that we’re showing that instability is so fresh today as it was when it is set and even when Shakespeare was writing it. There is a thread of political trauma running throughout time but I suppose it’s reassuring to know there will always be good people willing to fight injustice.

You’ve attached a modern political issue, the climate crisis, to the production, how has this impacted your reading of the original text?
When I was researching the play way back in September there was a huge movement and strike organised by Extinction Rebellion worldwide. That environment definitely coloured my reading as I found myself drawing parallels between a group fighting for climate justice and getting criticised and this group in the play that want to also fight for ‘justice’ and democracy by eradicating their would-be ruler. I love the idea of linking the two as I’m a huge supporter of groups like Extinction Rebellion (XR) and Climate Declares Emergency in that they want big organisations to make structural change in how they organise their businesses and what they can do to make their energy usage more sustainable. Whilst also recognising the backlash that groups like XR have received for ‘white-washing’ the crisis in that people of colour and working class people cannot afford to get arrested or that mass protests and civil disobedience could place disabled people in isolated situations when travelling across London. They are fighting for something we should all care deeply about and of course there is going to be mistakes but I hope this play can show the nuance in how activism isn’t always perfect.

It’s really refreshing to see this production is going to be more than a ‘blokes in togas’ revival. Can you tell us how you adjusted the gender balance in casting?
I feel like there is so much to be explored in Shakespeare by using a cast that represents more than just White Men Who Shout and Have Big Emotions. I don’t know about you but I think we’re tired of seeing Shakespeare done the same way again and again and by using more diverse casting especially concerning gender we can show the problematic text for what it is but not shy away from interrogating its themes. I specifically wanted to keep the original pronouns as I feel like it’s also just showing that we are playing pretend and that with Shakespeare we have to be mindful of not repeating stereotypes surrounding women being portrayed as ‘weak’ or men being unable to express emotion. Going further we want to break down this notion of gender in that we are all just people and we are allowing everyone to have a chance at speaking some beautiful poetry and getting to throw some punches!

How have you approached Shakespeare’s text to make it accessible for a modern audience?
My main focus is on the audience and their experience – I want them to hear the beauty of Shakespeare’s words and see the spectacle without feeling like they are being patronised to or that it is difficult to grasp. My job is to understand what everyone is saying in the text and make sure that all the elements – actors, design, setting – come together in a cohesive way. Communicating big themes such as power and corruption has to come from the smallest details and by focusing on the actors making every intention and action clear it brings with it a sense that we want people to join us on this adventure and not get bogged down by the early modern language.

Between the war scenes and the interaction with the mob, there’s some epic set pieces in the play, how do you stage the unstageable?
The war scenes and staging a mob have been a lot of fun to rehearse! I think it’s always important to come back to why these characters are fighting or more simply why are they shouting in the street. Placing the characters in a realistic setting, such as a protest march that crumbles into a brawl or as just normal people being swayed by political speeches right before our eyes, allows us to explore these scenes in rehearsals physically and then collaborate with our wonderful designers to help create that atmosphere using sound and lighting.

Can you tell us a bit about how you came to work with the UnDisposables?
I first joined The Undisposables on another Shakespearean project in 2018 as I was cast in The Jailer’s Daughter – a re-imagining of The Two Noble Kinsmen within a dystopian Love Island setting. It was a lot of fun and when they put the call out for directors to work on this production I jumped at the chance to apply!

There’s a lot of anger and frustration in our politics at the moment, how can we engage with that constructively?
We regularly discussed in rehearsals about there is such a divide in our society between what is Wrong and Right and little room for growth and learning. Of course we all play our part in this – myself included – but we wanted to show how people in politics can be swayed by so many elements affecting them and how within all this we all lack a little empathy and tenderness in combat especially when our own morals are questioned. I think creating a safe space for exploring anger and frustration through theatre allows us to experience it with a sense of catharsis and let us view issues in a more nuanced way from a distance.

And finally, can you share your favourite line of JC with us?
Oh no, this is like choosing between my children! I do love Antony’s line ‘Bear with me. / My heart is in the coffin there with Caesar, / And I must pause till it come back to me.’ So simple but so heartbreaking.

Julius Caesar – 10th – 21st March 2020

Click here to book for
JULIUS CAESAR